10 minute read
RESOURCES A guide to finding wha’s shown in the issue.
EXTERIOR Lap pool, Wine Country Pools, winecountrypools.net; LIVING/DINING/ KITCHEN Occasional chairs, DWR, dwr.com; credenzas, Zack/de Vito, zackdevito.com; side Table, Blu Dot, bludot.com; rug, Restoration Hardware, restorationhardware. com; sofa and ottoman, B&B Italia, bebitalia. com/en, bar stools, De La Espada, delaespada.com; dining chairs, De La Espada; dining table, Zack/de Vito; ceiling light fixtue, Roll & Hill, rollandhill.com; MESSANINE OFFICE/DEN Desk, Zack/de Vito; wall shelves, Zack/de Vito; rug, ascend-rugs.com; PATIO Bar stools, Sossego, sossegodesign.com; dining chairs and ottoman, DWR; dining table, Crate & Barrel, crateandbarrel.com; side table, Room & Board, roomandboard.com; Sofas, Henry Hall, henryhalldesigns.com; MASTER BATHROOM Bathtub, MTI, mtibaths.com
Déjà Vu
A HOUSE DESTROYED IN THE MAYACAMAS FOOTHILLS WILL RISE AGAIN.
BY ZAHID SARDAR PHOTOGRAPHS BY MATTHEW MILLMAN
The Glen Ellen house that the San Francisco firm Aidlin Darling Design created for its clients in 2016 is now sadly gone but the plan is to rebuild it as it appeared in these
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DÉJÀ VU
ARCHITECT and INTERIOR DESIGN by Aidlin Darling Design aidlindarlingdesign. com; principals Joshua Aidlin and David Darling, project architect Cherie Lau, project team Michael Pierry
LIVING ROOM Chair, Label Van den Berg, label.nl; MASTER BEDROOM Bed, De La Espada, delaespada.com, hanging bedside lamps, Naomi Paul, naomipaul.co.uk; MASTER BATHROOM Bathtub, Wetstyle, wetstyle.ca
Co-owners Rachel Blum and Jaclyn Blum-Guelfi
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Knife Art in Wine Country.
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A house with a cantilevered roof that forms a breezeway canopy is architect Cass Calder Smith’s version of a bleached wood beach “shack” for a surfing amily. Little windows in the facade bring light and air to six bunk beds.
THE NEXT WAVE
A NEW KIND OF STINSON BEACH RETREAT IS RIPE FOR INDOOR/OUTDOOR PARTIES.
BY REED WRIGHT PHOTOGRAPHS BY PAUL DYER
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THE NEXT WAVE
ARCHITECT and DESIGN Cass Calder Smith Architecture, ccs-architecture.com, design principal Cass Calder Smith, project architect Björn Steudte; interior design director Barbara Turpin-Vickroy
DECK Planter, West Elm, westelm.com; outdoor furniture, Restoration Hardware, restorationhardware.com; sliding doors, Fleetwood Window & Doors, fleet oodusa. com; KITCHEN Stools, Bludot, bludot.com/ sanfrancisco; Décor letters, RH Teen, rhteen. com; LIVING ROOM Fireplace, Fireorb, fieorb.net; dining table, elm wood from Alchemy in Design, alchemyindesign. wordpress.com, tabletop by Jeff Bur ell Art Design and Fabrication, jeffbur ell.com, base by owner Dan Lockwood; KIDS’ BEDROOM Bunk beds, custom design by CCS Architecture, ccs-architecture.com; Berber rug, Etsy, etsy.com; pillows, Etsy; HALL Prints by Kelsey Brookes, Quint Gallery, kelseybrookes.com, quintgallery. com; MASTER BATHROOM Sink fixtues, Hansgrohe, hansgrohe.com; tile and backsplash, Stone Source, stonesource.com; countertop, Bohemian Stoneworks, bohemianstoneworks.com; MASTER BEDROOM Custom-designed platform bed, CCS Architecture; ceiling fan, Big Ass Fans, bigassfans.com
ARCHITECT DAVID WILSON BUILT A CRATE IN THE MIDDLE OF HIS HOME RENOVATION CONSTRUCTION SITE SO HE AND HIS WIFE WOULDN’T HAVE TO MOVE OUT.
BY SARAH MOLINE PHOTOGRAPHS BY DAVID WILSON
OUT of the BOX
“IT SOUNDS CRAZY BUT IT’S GONNA WORK.” This was architect David Wilson’s silent mantra when he first hatched the plan to build a temporary dwelling inside his house in the Berkeley Hills. The “crate,” as Wilson referred to it, would allow him and his wife, physician Stacia Cronin, to remain in their home during planned renovations instead of moving into a costly rental.
Wilson and Cronin are empty-nesters whose kids are grown. The decided to embark on their architectural adventure after purchasing an unassuming 1,000-square-foot prewar cottage in 2011. Its large level lot and expansive bay views were hard to come by, and they devised a two-step renovation that would let them completely transform the house without tearing it down and starting from scratch.
Thefirstphase involved the street-facing side of the house. Acting as his own general contractor, Wilson enclosed a carport to form a garage and entry courtyard, added a bedroom and updated the kitchen.
Thecouple lived with this initial update for a few years while they perfected their approach for an even more ambitious phase two. The finalied plans to reorganize the living spaces and add a second-story master suite above a spacious dining room addition.
That would mean months of construction, but “we just didn’t want to move,” Wilson says.
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Opposite: Architect David Wilson’s new master bedroom flots atop the enlarged living spaces below it. During construction, a boxed-in area with a window that incoporated the kitchen and dining areas became the family’s temporary home. The new staircase has figued wood cladding and the dining table has a live edge.
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OUT OF THE BOX
ARCHITECT David Stark Wilson, WA Design, wadesign.com.
DINING ROOM Custom dining table, Berkeley Mills, berkeleymills.com; ceiling light, Foscarini, foscarini.com; dining chairs, Design Within Reach, dwr.com; LIVING ROOM MYChair lounge chair by Walter Knoll, Walter Knoll, walterknoll.de/en; Moroso end table, Dzine, dzineliving.com; painting by Alice Cronin; BATHROOM Sink, Concreteworks, concreteworks.com; faucets, KWC, kwc.com/english/home.html; GUEST BEDROOM Painting by Chase Wilson, chasewilson.net; bedside lamp, Artemide, artemide.com/en
PARADISE CALLING
LANDSCAPE ARCHITECT MICHAEL LUCAS WAS INSPIRED BY A WESTERN WILDERNESS IN SONOMA, WHERE HE CREATED A CALIFORNIA MISSION–STYLE WALLED GARDEN. .
BY ZAHID SARDAR PHOTOGRAPHS BY MARION BRENNER
100 WINTER/SPRING 2019 SPACES
PHOTO CREDIT PHOTO CREDIT “I DON’T MISS THE CITY AT ALL,”
Marilyn Coon Stocke, a former schoolteacher who is now a bookkeeper in Sonoma, says. “I have a become a country girl.”
Her transformation began inadvertently nearly six years ago, when her architect, George Bevan, invited Healdsburg-based landscape architect Michael Lucas to help design her weekend garden.
Stocke had owned six neglected acres of Sonoma farmland for 15 years and was finallyready to build north of Sausalito, where she lived. Over the years, she had begun to love her patch of Sonoma, even though, with it being so close to tidal flats,the groundwater is boron-infused and, without a sheltered courtyard — let alone a house — her property was too windy to inhabit on most afternoons.
Luckily, when Lucas came on board, Bevan hadn’t yet designed her house, and the 19th-century Mission San Francisco Solano, which is minutes away, became a font of ideas for ways to live indoors as well as outdoors. Inspired by what they saw there, Lucas and Bevan, who have frequently worked together, toyed with a paradise garden theme and arrived at a master plan: an enclosed 2,500-square-foot walled garden sheltered in part by an equally large L-shaped house.
“Marilyn’s property was full of tumbleweeds and decrepit,” Lucas recalls. Overrun with weeds, poison oak and the remnants of on old pear orchard, it was “spooky, but it still had a sense of place and a certain mystique.”
Clearing fire-prone brush became a priority, but native oaks and eucalyptus trees growing on the site, a safe distance from where the house now stands, were saved.
Thegarden walls as well as the house, like the mission, are finishedwith low-cost white stucco. In the center of the courtyard Lucas fashioned an arresting 25-foot-long by four-foot-wide concrete reflecting pool, edged sparingly with more durable white Wisconsin limestone that echoes early western watering troughs for horses.
The entrance to Marilyn Coon Stocke’s garden designed by landscape architect Michael Lucas of the Healdsburg firm Lucas and Lucas is a tudy in contrasts: drought resistant and deliberately wild and untamed outside its white garden wall, and lush, green and irrigated inside.
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PARADISE CALLING
LANDSCAPE DESIGN Lucas & Lucas Landscape Architecture, landscape architect Michael Lucas, lucas-lucas.com
Items pictured but not listed are from private collections, or no additional details are available. Lamperti Contracting & Design | San Rafael | lampertikitchens.com
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MARQUEE VALUE
An extravagant popcorn palace became a nexus between politics and social change.
BLUE-AND-WHITE-CLAD USHERETTES
“schooled in the ways of feminine tact” no longer greet filmgoersat the Castro Theate, as the San Francisco Chronicle reported they did in 1922. But few movie theaters retain the feel of their opening days as well as this Spanish-baroque beauty that helps define the neighborhood.
Both facade and interior are largely intact, it’s still single-screen, it still shows movies every day, and almost all the detailing remains original, including tile work and a ceiling resembling “some richly ornamental and costly fabric,” in the Chronicle’s words.
Yet this place has proved itself able to change with the times. The1922 rendition was, after all, called the “New Castro.” An earlier, smaller Castro down the block, where Cliff’s Variety is now, was closed to give its big sister the stage.
The theater is an early work by architect Timothy Pflueger, who soon found fame with area landmarks like Oakland’s art deco Paramount Theatre and San Francisco’s
Today's guests can enjoy singing along to Yellow Submarine and an opening organ performance. Black-and-white images from top: two interior images from the 1940s; exterior from 1927.
moderne PacificCoast Stock Exchange and Mayan-revival 450 Sutter Street.
Theater restorer David Boysel described it to the Chronicle well: “You have a ceiling that looks like an Asian tent, walls that look like they came from an English country house, murals showing a garden folly with a fountain in the middle, an art deco chandelier and organ grilles that look like they came from some palace in Europe.”
TheCastro opened with 2,000 seats, but it was not designed as a spectacular picture palace. It was a neighborhood theater, grand but not overly so, a place where folks could come several times a week, meet friends and not have to dress up. That may seem tame compared to Pflueger’s awe-inspiring Paramount, but few neighborhood theaters can top the Castro for character. Th architect oversaw each detail, from the mural created sgraffito style (scratching through layers of colored plaster) to the 25-foot-tall arched window dominating the facade. After a fie in 1937, Pflueger returned and added the art deco chandelier, and a new marquee was installed. Thetheater has had two superb organs in its lifetime, a Conn organ that was replaced by a Mighty Wurlitzer in 1982. The pre-show music, integral to the movie-going experience, is now as beloved as the theater itself.
Cinemas hit hard times in the 1960s. San Francisco’s largest and most magnificent,the Fox, went down in 1963. A former usher recalled the Castro in 1969 as a “run-down neighborhood theater” with “tawdry charm.”
In 1976 new operator Mel Novikoffmade the Castro a destination, restoring it as an art and repertory house, which it has essentially remained ever since. Through a succession of operators, including the Nasser family, who built the theater, it catered to the neighborhood’s gay community, as well as fans of serious cinema, silents and filmnoir, with festivals, sing-alongs and appearances by drag star Peaches Christ.
When the biopic Milk, about city supervisor and activist Harvey Milk, was filmedin the area, the Castro Theate benefited.Thefilmmaker repainted the facade and restored the neon to give scenes shot out front a 1970s feel — and perhaps to thank the theater for amplifying the neighborhood's political and social message. n
